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Marlowe's Doctor Faustus Finds Reality

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Marlowe's Doctor Faustus Finds Reality Eastern Illinois University The Keep Masters Theses Student Theses & Publications 1981 Marlowe's Doctor Faustus Finds Reality: In the Comic Mask Eva Marie Enis Eastern Illinois University This research is a product of the graduate program in English at Eastern Illinois University. Find out more about the program. Recommended Citation Enis, Eva Marie, "Marlowe's Doctor Faustus Finds Reality: In the Comic Mask" (1981). Masters Theses. 2996. https://thekeep.eiu.edu/theses/2996 This is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. ( 'flll•:SIS RF:PHODlJCTION CERTIFIC ATE T O : Graduate Deg ree Candidates who have written formal theses. SU BJECT: Permission to reproduce theses. The University Library i s receiving a number of requests from other institutions asking permission to reproduce dissertations for inclusion in their Library holdings. Although no copyright Laws are involved. we feel that professional courtesy demands that permission be obtalned from the author before we allow theses ~o be copied. P lease sign one of the following statements: Booth L ibrary of Eastern Illinois University has my permission to lend my thesis to a reputable c ollege or university for the purpose of copying it for inclusion in that institution's library or research holdings. Date Author I re s pectfully request Booth Library of Eastern Illinois University not a llow my thesis be reproduced because --------------- Date Author m MARLOWE'S DOCTOR FAUSTUS FINDS REALITY: IN THE CCMIC MASK (TITLE) BY ETA MARIE ENIS THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ENGLISH IN THE GRADUATE SCHOOL, EASTERN ILLINOIS UNIVERSITY CHARLESTON, ILLINOIS 1981 YEAR I HEREBY RECOMMEND THIS THESIS BE ACCEPTED AS FULFILLING THIS PART OF THE GRADUATE DEGREE CITED ABOVE :;zg ~ !fl'/ ATE ' tt;<i~ e.2 1, 17J11 DATE I ) f (},,~ !fJ'I DATE z ftftifl'jTE fl · MARI.DWE I S DOCTOR · FAUSTUS FINre REALITY: IN THE COMIC MASK BI ETA MARIE ENIS B• .A.. in Eng., College or St. Francie, 1968 ~RACT OF A THESIS Submitted in partial fulfillment of the re~uirements for the degree of Master of Arts in English at the Graduate School of Eastern Illinois Uni versit7 CHARLESTON, ILLINOIS 1981 Schol.are have considered the protagonist of Christopher Marlowe's !h! Tragical History of~ Life~ Death ,!Z! Doctor Faustus from nearly every perspective, but, at the same time, they have been hesitant to recognize the humorous incidents, particularly the so-called clownish scenes, as having a legitimate place even though much comic incident appears in Marlowe' e source. Though scholars have acknowledged Marlowe's play- to be a morality, they have not viewed Faustus as a morality charac­ ter: whose comic mask is his reality. An examination of the morality tradition, with Marlowe's debt to the morality- in mind, justifies the inclusion of much humorous matter in a play often assumed to be tragic. The original morality was a Ps:,chomachia--an allegorical conflict of man's soul between good and m.1--whoee outcome was a triumph for good. Its dramatis personae-­ personifications ot good and evil forces--show that the comic characters vere always tied to evil effects. These comic-evil characters satirized the protagonist's sins through burlesque techniques. Thus exaggeration and distortion made his sins appear absurdly funny. After the Reforma­ tion, a new "hybrid" form--a homiletic tragedy-emerged. It provided for comic scenes that were longer and more vivid than the serious and, now emphasizing mankind's failings, reversed the usually triumphant ending. Also, a fusion of the good and the evil torcee into one character created the •Vice," a protagonist with a dualistic personality- comparable to mmldnd. When stage impersonations became a popular means for propaganda, the developed Vice--basicall:7 an abstraction--could be adapted by the playwright to variable situations when clothed with a proper name and matching costume. Marlowe's ingenuity- enabled him to weave historical and philosophical ideas into the script ot Doctor Faustus, whose pro­ tagonist ot the same name was modelled in part on the Vice character~ 11 Marlowe disguised his protagonist as a scholar who rejected the tradi­ tional culture (i.e., white magic) and selected the counter-culture (i.e., black magic) in an attempt to overcome his existential dilemma. Marlowe made Faustus represent two aspects or humanity. First, dressed in the scholar's robe, Faustus represents the intellectual with his "cool tranquil idealism," who is good. Second, when he rejects all known knowl­ edge and accepts the unknown, he discards the scholar's robe, ironically declares his own doom "Consummatum est," and unwittingly becomes a repre­ sentation o! the clown with "bestial impulses" in the '-'figure ot a tool," who is evil. Realizing his mistake, Faustus seeks an anodyne !or his fears. while he vacillates between th~ughts of good and evil. The insid- • • I • 1ous corruption or Faustus' mind creates his downfall; his cl,ownishness 11 a frivolous aftermath o! self-deception which creates his hell on earth and causes him to conclude his lite as a coward; dismembered psy­ chologically and literally. In the play, humorous elements work as an an~e, as evocation ot the hybrid "Vice," and as a means to convey Faustus• psychological state after his "tall." The rollicking rhytl:ms ot the clowns . in the first part or the play and the low lrumor with matching antics o! Faustus himself in the second part successfully lull the consciousness or the audience--up to a point--and it comes as a shock that Faustus is actually damned in. a reversal or the simple morality. As Vice, whose reality is the comic mask, Faustus is only a metaphorical f i gure, a personification ot an abetraction, hence an amoral non-being capable or performing exaggerated abeurdities to please his audience while displaying through speech and actions the absurdity or mankind's aspirations, whether for "belly cheer" or infinite power and knowledge. 111 Wer tertig 1st, dem 1st nichts recht zu machen, Ein Werdender wird 1.mmer dankbar sein. vca lorspiel aut dem Theater in Goethe's FAUST Scholars have considered the protagonist of Christopher Marlowe's !!!! Tragical Historz .2! !h! ~ ~ Death ,2! Doctor Faustus from near­ q every perspectiveJ but, at the same· time, they have been hesitant to r~cognize the humorous incidents, particularly' the so-called clownish scenes, as belonging to the original drama. Through an examination ot Marlowe's play, I hope to show that both the comical scenes in .the main plot and the low characters•. antics in the subplot are an integral part ot Marlowe's means to characterize the absurdi ty- ot an aspiring scholar who wishes to evade mankind's existential dilemma and who umdttingq becomes a clown. Anong critics who neglect or deplore the corde "intrusiona8 are John Addington Symonds, u. M. Ellis-Fermor, John Bakelesa, Paul Kocher, Harry- Lenn, and Wilbur Sanders. Symonds ana~es the •perplexities" 1 ot Faustus• •dinded spirit," but nowhere conaidera the low humor 2 that is also part ot 1 t. It is rather obvious that Ellis-Ferm.or does not consider the middle part of the plq as belonging to it original~ because she states thats The fora ot Faustus is a little like that of all ruins--the design is not obvious, but it can be perceived. Ir the roof' of a cathedral were broken in several places and patehed with rococo work and frivolous, degenerate ornaments, no architect would be deceived. Rather, hia first thought would take the form of Goethe's excluationa "Wie gross 1st allea angelegt!" The ribs or the original arches can be discerned, though their continuity is broken and their surface deformed.) 2 ET.1.dentq, she recogniua the clowning to be the work ot an interpolatar. It is somewhat difficult to assess John Bakelesa' opinion ot the comical scenes in Faustus. In his earlier book, Christopher Marlowet ,!h! !!!!! ~ .!t! Time (1937), Bakeless says that there is "not any doubt• that Doctor Faustus is a "re-writing of the English Faustbook,"" noting also that Marlowe "hard~ troubles to adapt its material but copies it almost Terbat1m.•S FiTe 7ears later, Bakeless discusses the clownish ecenes and wonders specitical~ whether or not Marlowe "had anything 6 to do vith them • • • • • Paul Kocher takes an even less humorless T.1.ev. Because, tor him, Marlon~ heroes are "projeeti.ons ot one man, one spirit••• Christopher Marlmre"7 and because he parallels the apostU7 and despair ot Faustus vi.th a possibq dark hour in the life of Marlowe, Kocher can on~ see Faustus• •sense ot the loss or God, his agonised despair• as •the gist ot the pla7."8 Bury- Lenn also tails to consider the pl,q' s comic aspects. Though he presents in graceful prose critical insights tor nearly en17 important serioua scene, ~T.l.n is not concerned with the middle section. He does not coru,ider these scenes to be the vork of Marlowe, and he is ready to dismiss the• as "unquestionabq veak." 9 In the same win, Wilbur Sanders notes that the comic scene~ are mereq "the nin ot undirected triTollt7.•lO other critics have made rooa for •ome treatment ot come~ when couidering the character of Doctor Faustus. In particular, Robert Ornstein preaen18 an argument quite re leTant to the T.1.ev which I expect to take ot Faustus. .l!ter stating that the •ironiat often deals in elaental absurdities-the absurdity- ot eating children to cure pc,Tert7 or of mortcaging one I s i111110rtal eoul tor a piece of ntton (it it be .
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